Boxes and Arrows

Quick Turnaround Usability Testing

Paul Nuschke — Thu, 18 Sep 2008 10:42:59 GMT

It starts with any number of scenarios: Design and development have taken too long to produce a prototype, you need to release in three weeks, and you suspect there may be design flaws. You are trying to incorporate usability testing into an Agile development process. Or maybe you simply want to pare down your process to make it shorter and less expensive.

Completing usability testing quickly is a challenge anywhere but especially in consultancies, which have to overcome additional challenges, such as learning a new application. To assure success on these projects, I’ve developed a quick turnaround usability testing methodology (QTUT) that minimizes the time needed to complete testing. In Part I of this article, I discuss how to make the first three steps of QTUT—Sales & Kickoff, Recruitment, and Preparation—as short and efficient as possible. In Part II, I will discuss the final two steps: Testing and Analysis & Reporting.

Steps in the QTUT Process

Step 1: Sales & Kickoff
Step 2: Recruitment
Step 3: Preparation
Step 4: Testing
Step 5: Analysis & Reporting

Sales & Kickoff

A new client or a group within your company has approached you about doing usability testing. They need the results next week, which works out to six business days from today. What should you do?

Before a project kicks off, we typically have a number of discussions with the client to understand their goals and deadlines for our engagement. However, in QTUT, each day spent in the sales and kickoff process takes a day away from testing and analysis. To help our sales team conduct initial discussions efficiently, we’ve prepared a one-page guide outlining the do’s and don’ts of QTUT.

One critical “do” for our sales team is that they should discuss the method with the client and immediately set deadlines for our testing results. Starting with the final due date, an experienced tester can work backwards to determine the dates for testing, beginning recruitment, and finishing the test plan.

It’s also important to review expectations with the client. For example, current clients typically expect a certain level of quality in our deliverables. When we compress a week of work into one day, delivering a perfect document or presentation is impossible, so simply reviewing the timeline and discussing how we plan to shorten the process is extremely helpful.

Since the project must start very quickly, our sales staff and project team use part of the kickoff as a working session. During this working session, we develop specific goals, learn what types of results will be helpful, develop an initial list of testing tasks, and learn about the users that we need to test the application. We also compile a list of what we need from the client. Depending on the project, we may need:

Information about users for both recruiting and for writing the test script. For example, do people regularly use the application or do they only use it occasionally?
Training materials for the application and a subject matter expert who can answer questions.
Background information, feedback, or previous testing materials that give context to the current design or may help us to write screeners and test scripts.
Access to a stable application, especially when it is under development.

Sales & Kickoff Tips

Create a “Do’s & Don’ts” guide to help team members through the process.
Avoid clients who are rigid, who prefer not to participate in the process, or who want long reports.
Use the kickoff as a working session to learn about the participants and potential tasks.
Have a facilitator available with the domain knowledge needed to quickly learn the application.
Refine your methodology before you have a project.

Recruitment

Before starting the project, you called several of your favorite recruiters to see if they could meet the deadline. You’ve gotten information about participants during the kickoff meeting, and now you simply need to write a screener in less than two hours!

Recruiting quality participants is a big challenge. There are two key components to recruiting: writing the screener and scheduling the participants. The screener is a list of questions used to filter out participants who are not appropriate for your study. Scheduling involves calling potential recruits, asking the questions on the screener, and scheduling participants who qualify and are available.

Because scheduling is time-consuming, it’s critical to write the screener immediately; in fact, we often start and finish the screener immediately after the kickoff meeting. That’s why it’s important to get information about participants during this meeting.

The level of effort required to recruit depends upon whether you’ve recruited similar participants before and whether you handle the scheduling internally or externally. If you’ve recruited similar participants before, you can reuse the same screeners almost verbatim. To facilitate recruitment for new participant types, we’ve built a list of standard questions so that, at worst, we need to write only a few new questions. In addition, we use a screener template that has our facility procedures, location, and contact numbers; the facilitator need only fill in the specific test questions.

External schedulers. We typically use external schedulers, which is particularly helpful for QTUT, because it takes burden off the facilitator. I highly recommend contacting your external recruiters before agreeing to do a study to see if they can meet the timeline that you need. If at least one of your external recruiters cannot meet your timeline, do not hesitate to ask your client for assistance before agreeing to the study.

Internal schedulers. If you do your own scheduling for QTUT, you may have a list of participant leads in house, so writing a screener isn’t always necessary. However, depending on your timeline and your success rate when calling, it’s often necessary to ask your client or a co-worker to make the calls for you.

You might be tempted to schedule testing sessions very closely together in order to complete more sessions per day. However, we find it more efficient to leave time between sessions in order to quickly debrief and begin analyzing what we observed during the previous session (I’ll discuss this analysis method in more detail in Part II). You may also need the extra time to modify the testing script as needed before the next session.

Recruitment Tips

Start recruiting as soon as possible.
Create a screener template so that you only need to write the questions.
Reuse questions from past screeners.
If you do your own recruiting, ask a coworker to make the calls for you.
Budget more money than usual when using third party recruiting firms.
Screen carefully but avoid particularly restrictive screeners.
Schedule backup participants (“floaters”) to cover multiple time-slots in case a participant fails to arrive.
Leave time between participants to summarize results and to change the tasks as needed.

Preparation

You’ve started recruiting. You are familiar with the application type but you need to learn this particular application. You need to write the tasks and questions for your test script and you need to clear them with your client.

With recruiting underway, you can turn your attention to learning the application and writing the test script.

One critical note in our sales guide is to avoid aggressive timelines for applications in unfamiliar domains or those which require extensive training. Even if you’ve followed this advice, you will still likely need to learn certain aspects of the application.

It may seem obvious, but you cannot learn an application if you do not have access to it. Often the clients who come to us are still developing the application, so be sure to schedule adequate access to a stable version.

After you’ve had a chance to learn the application, writing tasks and questions for QTUT is similar to a normal study. We rely on client stakeholders more than usual because they help to prioritize testing needs and to identify key tasks. In QTUT, most clients are releasing soon so they’re more interested in finding easy-fix problems than in statistical data or qualitative feedback. Consequently, we tend to focus our effort on creating tasks vs. writing a lot of questions. You also need to consider what you can realistically summarize quickly. For example, if it takes two hours to compile error rates, then eliminate error tracking from your test plan.

We run pilot tests as early as possible because they help us more rapidly iterate and improve the script. Keep in mind that you probably will not have perfected your script when your first participant arrives, so you may need to modify slightly the tasks and questions between sessions.

Preparation Tips

Avoid gathering data that takes a lot of time to compile and analyze.
Use open-ended questions such as “Tell me about what you did yesterday at work” and allow time for discussion with the participant in order to learn about them during their session.
For tasks that require more information that you currently know about participants, use a series of questions to build more realistic tasks.
Use Likert-style scales to get data if you need it, and rely less on task completion data (as your tasks may often change).

Next time: Part II

In Part II, I will discuss how to facilitate the sessions, and I’ll describe a novel approach to analyzing and reporting the results.

Getting a Form's Structure Right: Designing Usable Online Email Applications

afshan kirmani — Thu, 18 Sep 2008 10:42:52 GMT

I started writing this article with an emphasis on the financial domain. I then realized that I would like to broaden the focus because my findings are also applicable to a general domain like email account registrations, for example. In this article, I would like to take a simple example of how users register for an email account online. For a first timer, is the transition from a real world of letter writing to the online medium easy? And for a frequent user, is he or she motivated enough to create an email account with another service provider?

Yes, this is for all of you out there—my fellow usability practitioners, information architects, designers, managers, project leads, editors, and people who are looking to develop their UX practice.

In the modern family, where often both parents are working full-time and the children are involved in many after-school activities, people may only have a few minutes to spare on an important task during the day. And it’s the Internet that supposedly helps people achieve this. But do we, as designers and usability practitioners, always help them do it? I say, “No.”

Just the other day, a friend of mine begins to complain of the spam mails that she receives everyday. “I have two separate email ID’s to keep myself away from such mails—one for official purposes and the other for my junk emails. But even my official ID seems to be flooded with these emails. So I found myself moving to another email service provider. Again, I found myself grappling with the registration process.”

There are three people who determine success of a web-based form: the usability practitioner, the designer, and the user (Image 1). Taking a simple everyday example like an email service, I aim to discuss the various aspects that lead to a great forms structure.

Image 1: Success of a web-based form requires involvement of a usability practitioner, designer, and user.

There are a million websites out there. There are a million email service providers out there. How do you ensure that you gain the right audience to join your service? What are those factors that will help users move ahead and become your loyal customer? Part of the answer has to do with the first step: REGISTRATION!

In the first part of this series, I will focus on the basic issues that a usability practitioner must address to create a usable web-based form:

Affordance
Orientation
Chunking

1. Affordance: The Lure

We all know how grueling and tedious a registration process can be. Therefore, we need to ensure that our sites adequately “lure” users into the process. To do this successfully is not just a matter of providing the right cues, but how and where we provide them.

Coming from the real world

Every online form was created keeping the real world in mind. We all once began filling in forms in real life before we began moving to the online medium of getting things done quicker.

Email service providers must allow for a smooth transition from a real world scenario to the internet, for those who are petrified of it. Users should know the advantages of the service provided as compared to the real world scenario of letter writing. Why would users move to your service when they can just write a letter? What are the advantages of sending an email? Is it quick? It is easy? These issues should be addressed upfront to ensure that they are lured forward.

None of the websites that I reviewed follow this practice effectively.

Entry points

An entry point to an application must be clear and appropriate to the specific needs of the user. For example, let’s say a user visits a website to send out an email to a distant relative. He or she has never used a web-based email service before. Not knowing that he/she needs to register, they would look for a direct cue to send out an email. Where do you think this user would look for a cue? This is where you need to perform a quick goal-task analysis. Let’s consider a scenario:

A first timer enters the website to send out an email. This user is hauled because he/she is unsure of their next step.

Let’s have a look at Gmail, our most used email provider. Most websites that I reviewed allow you to register. But users are not lured into it. As a first time user of a website, they need to know the benefits of registering clearly, up front. Gmail does a good job of this (Image 2).

Users often hate to register. Therefore, as usability practitioners, we need to tell them of the benefits of registration when they enter a website for the first time.

Image 2: A good example of enticing users to register online by clearly listing the benefits up front.

Service/Product comparison

Remember, your users are watching your competitors as well. So if you aren’t that big in the market, how exactly would you think big? Compare your features with that of your competitors to formulate your strengths over the others in the market. Let’s see how Bluebottle effectively does this (Image 3).

Image 3: Bluebottle’s website allows users to take a peek at service comparisons. Users also have the freedom to view a detailed comparison.

Online benefits

It is important to inform the user up front of what they will gain after registering. It’s a competitive world out there and users must and should know what the website is selling them. This affirms the brand’s identity and responsibility to gain customers online. A basic cue reassuring users about the benefits helps build trust which encourages them to use your services. As shown in image 2, Gmail clearly provides the online benefits.

Another clever way to entice them is to provide a view of what the service looks like once they have registered or applied. In this case, it would be ideal to show users on the homepage a view of what their personal landing page (the inbox) would look like once they have registered.

None of the websites that I reviewed follow this practice rightly.

Security

It is essential that users know that the information they are entering will be secure. A basic “Lock” or “Key” icon would do the trick. Also, providing them with security information and its benefits improves customer loyalty and trust. With the case of Yahoo, the website uniquely utilizes this feature to grab users towards their secure service (Image 4).

Image 4: Providing a security message increases loyalty which moves users towards registering.

Taking a tour

Before users move ahead to encounter a form, it is necessary to tell them why they need to do it and most importantly how they need to do it. Again, taking the same examples forward, if you look at the example below, you will see how AIM Mail allows users to take a tour (Image 5). This also gives an edge to its competitors as they are showing them of what’s inside even before registering.

Image 5: The website allows users to take a tour before registering.

User’s path forward

This doesn’t just end with the benefits. Users have to be told where to go after they have been guided. All websites do provide a way to move ahead. But I specifically want to use an example that can show improvement in terms of placement of this cue, which is most important while users are making a decision.

We love Gmail. But we sometimes wish it were always right.

Provide users with a clear path forward AFTER you are done enticing them with the meat.

Image 6: The website must provide a clear path forward after enticing users with the benefits.

Consistent design

As users transition from the homepage to the form, it is important that the design of the pages remain consistent. Any small change in the design or layout could affect their performance and decrease the overall experience.

Most websites get this right. But we can still look for improvement. Let’s have a look at the example below (Image 7). Here, as users move from the landing page to the form, we see significant changes in the layout and the visual design.

Image 7: The design of the page is inconsistent with the previous page.

An overview of what’s to come

As users enter the application, they need to know what to expect, however short it maybe. Therefore, throwing users directly into a form is not the best way to help them achieve their goals. Instead, the website must first provide users with an overview of what’s to come, including the application requirements and the next steps. This can be just a few lines telling them of the benefits, the things that are expected and an instant access to their emails soon after they are done.

Let’s have a look at Yahoo as an example (Image 8). It doesn’t do a perfect job. But it’s nearly there. All the information that the user is expected to provide during the registration process is described up front.

Image 8: The website informs users of what is expected of them while registering.

Lending a helping hand

We all know that people fumble along the way. Heck, sometimes I come across forms that I don’t understand. Therefore, it is essential to provide users with online help whenever needed.

For applications that drive business, a toll free number is essential as this brings in the revenue. But with the case of an email service provider, online help would suffice.

The visibility and location of the help link is equally important. By providing this, you can ensure that users not only find it quickly but also feel safe just by seeing it. This is also useful for first time users who are just transitioning from the real world of letter writing to the web world of emails.

None of the websites that I reviewed follow this practice successfully.

Language aid

There are websites that allow users to view their services in the language they choose. This should also be the case with web forms. Choosing the language of their choice gives them freedom and control. It also helps them move forward and register as they can be assured that the website caters to their needs as well.

Image 9: The website provides a way for users to set their language preferences.

Save and continue

Let’s say that the basic goal is to register online, so why not just save users’ information automatically as they proceed? A basic “Save and Continue” button would not only tell users that their information is automatically saved but it would also allow them to access the information if they need to resume the application later.

Now if your form is just a page long, you would obviously need a button that reads “submit” or “done”.

Most websites only follow the later.

2. Orientation

Form title

Ensuring that the page header follows a clear task flow from the preceding cue helps applicants orient themselves to the page. Most websites do this successfully. Let’s take a look at the example below (Image 10). Gmail follows a clear flow from one page to another, telling the users where they are at each specific point in time.

Image 10: The website provides a clear orientation feedback to the users as they move from one page to another.

Progress indicator

How ever short or long your application form maybe, users need to know their path ahead. A well-positioned progress indicator outlining the entire application process helps users see what lies ahead of them. There’s no use of providing the progress indicator on the left or the right of the form. Users need it up front as they do not tend to look to the left or the right of the form when they are entering information into an application. The best way to grab the user’s attention is to display the progress indicator on the top of every page of the application.

Let’s have a look at an example below (Image 11). This website has got the concept right. Yet, it can further deliver what’s best for users at this point. If you are providing users with a form, make sure that you tell them what each step entails. For example, Step 1: Enter your personal details. The example below does provide a progress indicator by telling users of the number of steps ahead. Yet, it fails to mention the step details.

Image 11: An example of a progress indicator. Though, the website needs to take a further step to provide the step details.

Progress feedback

More than 60% of web-based forms that I’ve encountered add in extra steps along the way, ones not included in the progress indicator. As applicants do not see all the steps up front, they are baffled when additional steps start appearing. When you tell users that the form entails 3 steps, don’t cheat them. Keep it to 3 however tempted you might be. With the example above (Image 11), users are probed into a number of pages, viewing the same orientation feedback for pages to come. Make sure that each step is provided on the same page. Moving them through pages and providing them with the same orientation feedback is only going to cause confusion.

3. Chunking

People perceive information more easily when related parts are grouped. This increases users’ efficiency and reduces reading effort. Chunking information into related parts helps users better understand information to navigate more effectively.

Headers

Ensure that you break the form into logical content groups and provide relevant headers for each information chunk. I have seen more than 90% of web forms that just provide the main header and then continue with about 20 questions on the same page. This can overwhelm a user. A quick way to organize information into groups would be to do a card sort with potential users of the application or even your co-workers. An example of effective chunking is found at Yahoo and My Way (Image 12 and 13).

A clever trick is to number the chunks to allow users to perceive how much is left and also to perceive that they are moving forward. It provides clear direction of a way forward.

Image 12: The form is well-chunked, with clear headers describing the grouped content.

Image 13: The form is well-chunked, with clear headers describing the grouped content.

Labels

Labels on individual pages within the application process must be related to the main header as well as its elements. For example, forms should display a clear and simple header along with related sub-headers. In the example above (Image 12 and 13), the sub-headers (labels) are clearly grouped with their header. You have personal information and password information separated with clear headers that define the structure. This provides clarity and direction.

Summary

As usability practitioners, we need to first and foremost understand the user’s intentions and expectations, in order to provide an online experience that accommodates them. The image below (Image 14) shows the mapping between the user’s intentions and expectations and the ways in which the usability practitioner can help accommodate them in order to ensure the ultimate success of online application forms.

Image 14: The usability practitioner ensures that the form’s structure accommodates the user’s mental model, experience, and expectations.

The journey of creating a successful online application form requires three people working in parallel: the usability practitioner, the designer, and the user. The usability practitioner needs to keep in mind the big picture. The designer needs to have a clear understanding of all the details that will go into the form’s structure. The user helps shape the overall approach to the application form and ensures its ultimate success.

You might agree, partially agree, or even disagree with my thoughts. You might even have something to add to this. Let’s hear your point of view. We are innovating, remember?

Coming up…

The next part of this article will focus on the designer’s role in the process of creating the form’s structure, layout, segmentation, widgets, color schemes, formatting, alignment, and consistency.

References

“GUI Design for Dummies” by Laura Arlov, 1997
“GUI Bloopers: Don’ts and Do’s for Software Developers and Web Designers” by Jeff Johnson, 2000

Information Architecture for Audio: Doing It Right

Jens Jacobsen — Fri, 12 Sep 2008 12:02:04 GMT

Content today is increasingly delivered by audio both online and in the real world. We have radio shows and newscasts, and in recent years, podcasts, audio books and navigation/car assistance systems have been added to the field. Audio is more emotional, as sound effects and acoustic atmosphere enhance content to help deliver its messages. It also affords users the opportunity to interact with content while their hands and eyes are busy (i.e. when doing physical work, driving, walking, etc).

However, the inclusion of audio often results in usability issues that make it difficult for users to access and understand content. That is why we need new tools to organize linear content like audio. Luckily, a wide range of techniques employed in information architecture, journalism, usability engineering and interface design are available. All that’s required is the knowledge to combine them effectively. This article presents a practical framework for designing and implementing audio-based content, such as podcasts.

The Problem with Audio

When using audio today, we face challenges similar to those of written text about a decade ago. During this time, information was being transferred from hand-held documents to the computer screen, without being optimized for the new online medium. Now the same mistakes are being repeated with audio. Existing text is read by a narrator, or worse, the text is speech-synthesized by a computer. Audio doesn’t function the same way as written text, so its execution is often poor. The main difference between printed text, be it on paper or on the computer screen, is that audio is linear. You can only consume it in a linear fashion and you have to listen to it at a given speed.

Figure 1: Part of the “Web Trend Map by Information Architects, Japan

For example, Figure 1 shows part of the famous “Web Trend Map by Information Architects Japan”:http://informationarchitects.jp/web-trend-map-2008-beta/. It’s an excellent example of how information can be displayed in a two-dimensional space. It’s not possible to use one-dimensional spoken text in the same way. When accessing audio, users have no idea how long the segment will last, unless this information is provided by the interface or the narrator states it at the beginning of the segment. Users only have a vague idea of where they are within the narration. If you don’t have any visual hints it’s difficult to determine how much time is left and what topics are going to be discussed. Finding specific content by rewinding or forwarding is difficult. In contrast, finding the next subsection within a text document is very simple. You can easily find a particular word on a page by scanning it or by using your browser’s find function.

Best Practices for Audio

When beginning an audio-related project, ask yourself whether audio is the right medium for your message. In some cases, text is a better choice and in other cases it’s video. Don’t use audio just because you can. If you are certain audio is the best choice, there are several fields to help inform how you implement it. The most important professions we can learn from include:

Information Architecture
Journalism
Educational Psychology
Usability Engineering
Interface Design

Information Architecture for Audio

The principles of information architecture are exactly what you need to create usable audio. Your approach to creating audio should be similar to developing a large website. In both scenarios you don’t want the user to get lost or overwhelmed by content. For any informational audio that is longer than a few minutes, follow these guidelines:

State the Length: Typically the user has no way to assess the length of the audio segment. Sometimes the length is provided by the interface, but not always accessible. For example, if you listen to a podcast with your MP3 player, it might be in your pocket so you don’t see the time and duration displayed on the device.

Give an Overview of the Structure: Informing users how the audio is structured helps them find the content they’re looking for. It also gives them the option to directly locate the information they’re most interested in.

Introduce the Topic: An introduction helps set the mood and prepares the listener for the content to come. In printed text, such an introduction might seem hackneyed, but with audio it’s good practice to describe a situation the listener knows from everyday life. It’s better not to jump right into the topic, but instead provide some information about it.

Provide Orientation from Time to Time: If the audio is longer than a few minutes, help the user form a mental model of the content by repeating its structure from time to time. Tell the user where they are within the content and give an overview of up-coming topics. For longer audio pieces, consider giving users the option to skip sections/chapters via the interface or offer content in segments.

Journalism for Audio

Radio has been around for more than a century, and most of the best practices from radio journalism are ideal for creating usable audio. Here are some of the most important points.

Keep it Short: Ideally, audio narration should be shorter than printed text covering the same subject. If you have three pages of printed text, don’t write three pages of text for the narrator. Since users are unable to easily scan audio content and must listen at the narrator’s speed, concentrate on the most important content.

Moreover, the sentences and the individual words should be kept short. It is much more difficult to comprehend a long, complicated sentence read aloud than to read it in print.

Repeat Often: Repetition is something you usually try to avoid with written text. With audio, however, it helps to get your point across if the most important facts are summarized and repeated. The key is a summary at the end of the audio. It’s also a good idea to repeat the main subjects or themes rather than referring to them by pronouns or synonyms. The text might seem strange when you read it, but as soon as you hear it, you will realize the audio is easier to follow.

Use Mental Pictures: Good journalistic audio sparks the listener’s imagination. It not only makes the piece more entertaining, it also helps the user understand and remember it. Try to create pictures in the listener’s mind. Describe what they might see and feel if they were in your place. For example, let them hear the sounds of the location where your story is set.

Take Advantage of the Possibilities: Different styles of speech, tone, speed and dialects can be used to create memorable audio. When the language is too formal, you lose credibility and narration is more difficult to understand.

Don’t Overuse the Thesaurus: This is another piece of advice from radio journalism. When you use overuse synonyms, you decrease comprehension. The listener has to decipher the synonyms while the narrator continues talking, so he might not understand some of the text. For example, when referencing Japan, avoid using the terms “Nippon” or “Land of the Rising Sun.”

Here is an example of how to structure an audio sequence:

1. Greeting
2. Introduction (i.e. audio length, what subjects/topics will be covered and how the user can interact)
3. First section of content
4. Describe the structure (i.e. summaries, repetition, overview and acoustic bumpers)
5. Repeat Steps 3 and 4 until all content is delivered
6. Conclusion (i.e. summary or what action users can take next)
7. Farewell

This structure is derived from the typical sequence of a radio show and has been successfully adopted by many podcasters.

Educational Psychology for Audio

Much research has been conducted on reader comprehension and written text, notably the work of Norbert Groeben from 1972 onward. Most of the results show that the techniques from information architecture and radio journalism cited above are also valuable for creating accessible content to be used in an academic setting.

Keep Short-term Memory In Mind: It is important to write short sentences and to repeat words rather than using synonyms.
Design Audio Content for Different Reading Speeds: Research shows that reading speed varies by individual, depending on age, familiarity with the subject, education and other factors, so it’s important to adapt the complexity and the reading speed of the narrator to your intended audience.

Usability Engineering for Audio

Because audio differs, some of the established techniques used in web development cannot be applied audio. Wireframes, card sorting exercises or eye tracking can be used to evaluate information architecture or interface design, but these techniques do not work for developing and testing audio content. Still, we can borrow from usability engineering when including audio:

Design for the Target Audience: It’s still uncommon to apply the techniques of user-centered design to audio, but do convince your design team to produce content for the users, not its creators.

Create Personas: Personas are the perfect method for representing your target audience, so use them.

Create Scenarios: Usage scenarios are a technique you can successfully apply when creating audio content. It is crucial to understand the user’s:
- Environment (i.e. quiet or noisy)
- Access Possibilities (i.e. Do users need to rely on their eyesight or hands right now? When driving or working out eyes and hands are mostly occupied.)
- Mood (i.e. passive/reclined or active/leaning forward)
- Expectations (i.e. entertainment or information)
- Experience (with interface as well as with content)
Test With Users: If possible, test early versions with selected users from the target audience. Usability testing in a research lab is best, but informal tests are a good start.

Conduct Log File Analysis: Do your statistics. Look at which files are most frequently downloaded (and the least). Correlate the files with their content and then produce more of the successful content types.

Consider Users’ Goals & Tasks: Figure 2 shows that audio delivered over the web has a different level of interactivity than, say, just listening to the radio. Apart from listening on demand, users can forward or skip through audio. They may also be looking and interacting with other materials at the same time they are listening.

Figure 2: Depending on the context, the amount of interactivity varies.

What’s more, knowing user’s expectations is crucial to creating the appropriate content (Figure 2). With audio this is more important because it is difficult to skip irrelevant information.

Interface Design for Audio

Finally, give careful consideration to the interface that provides access to and control of audio content. Again, the well-known principles of interface design apply. In general, give the user as many hints as possible about what to expect from the audio—before he even starts listening.

Provide a concise description of the content.
When linking, make it clear that an audio file is linked.
Explain how to locate content within the audio piece, if possible.
Include metadata (i.e. ID3 tags in MP3 files that are shown within the playback software, as well as on portable devices).

Figure 3: Podcast page of “The New Yorker website”:http://www.newyorker.com/online/2008/08/11/080811on_audio_grann?xrail

Figure 3 shows the podcast page of the The New Yorker magazine. Much of the information on how to subscribe to the podcast and how to download the audio file is in text. Some short links at the end of the paragraph might work better.

Figure 4: Metadata in iTunes

Above is a good example of metadata displayed via iTunes (Figure 4). Note the long description; it’s concise but not suitable for scanning.

Conclusion

Creating usable audio is not difficult when you follow a few simple rules. These mostly stem from the creation of usable content in the form of text. Information architecture, journalism, educational psychology, usability engineering and interface design provide plentiful tips for doing so. Most of the methods used in these fields can be applied to the creation of audio. To summarize, the main guidelines for usable audio are:

Write with your audience in mind.
Structure your content by providing an overview at the beginning and giving an introduction to longer audio pieces. Be sure to include a summary at the end.
Follow the rules of radio journalism for creating easily understandable narratives.
Rely on a familiar interface or put your design in front of users if you digress from a familiar practice.

If you follow these tips you will be able to create audio that is easily accessible, engaging and helps to communicate your message, not only intellectually but also emotionally. After all, emotional quality is one audio’s main advantages over text.

IDEA 2008: An Interview with Elliott Malkin

Liz Danzico — Fri, 12 Sep 2008 12:01:51 GMT

Even if you’re trying to find one, the connections among Elliott Malkin’s body of work are hard to see. Part family history, part science project, part home-movie, his projects span genres that, initially, seem incidental. Yet many of his web-based projects—whether they investigate “butterfly vision” or install digital graffiti throughout lower Manhattan—are connected in one simple way: they all explore unofficial signals in public space. Taking on the invisible and the imagined, his projects invite viewers to imagine things that operate beyond their perception.

His latest project, Graffiti for Butterflies, is even further afield from his typical subjects as it deals with natural science. By directing Monarch butterflies to urban food sources it “is the equivalent of a fast-food sign on a highway, advertising rest stops (waystations) to monarchs traveling through the area.”

At the upcoming IDEA conference, Malkin will discuss some of his more renowned projects, as well as some material not yet seen online. I recently got some of his time to find out more about it.

Liz Danzico: As an artist, your work investigates the overlap between memory, information, and physical space. How did you begin investigating memory as a key part of your subject matter?

Elliott Malkin: I’m actually not that interested in memory in the abstract. I’m more interested in what’s stored there, namely, the memories. For a time I was obsessed with reconstructing the life of someone I had never met, my great-grandfather Hyman Victor. I enjoyed the process—excavating memories from those who knew him. But I was probably more interested in the traces of him that remained in the physical record, first at his gravestone, then on microfilm inside government archives.

Ultimately, I found much of the information about Hyman on genealogical websites. While the memories continued to disintegrate everywhere else, on the Internet they seemed fairly well preserved (though even these will fade.) I compiled the results of this investigation at Everything I Know About Hyman Victor. I also created a device called Cemetery 2.0 that attempts to address the limitations I saw in the way that information about people is preserved.

LD: What kinds of limitations were you seeing, and how did Cemetery 2.0 intend to remedy them?

EM: Mainly that gravestones tend to provide little information about the life of a person beyond their name, date of birth, and date of death. Almost all other information about the person’s life is decaying in public archives, dispersed in fragments across the Internet, and, sadly, fading away in survivors’ minds. My idea for Cemetery 2.0 was to bundle all surviving information with their actual grave. I did this by establishing a wireless connection to the world’s most comprehensive online genealogical database, where amateur genealogists are constantly uploading and revising records about their forebears.

LD: How has an investigation of your family helped you explore information and memory? Do they mind being the public subject of your art?

EM: I suspect Hyman Victor would have appreciated his great-grandson taking an interest in him. But I take it you’re asking me about my video projects, such as Family Movie, in which I have my parents reconstruct scenes from our trove of Super 8 home movies from the 1970s. They’ve seen themselves on the big screen and on my website, and seem to get a kick out of it. As for my interest in my family, it’s probably an expression of self-absorption. That said, I tend to widen my definition of self to encompass broader categories, such as American Jew. But not all of my work deals so directly with myself or my family. I have a feeling that when I finish Mother’s History of Birds, my autobiographical streak will be satisfied.

LD: Your latest project, Graffiti for Butterflies, seems to deviate from your previous work in that it deals with natural science. How does this project fit within the larger evolution of your work, if at all?

EM: Well, it uses graffiti, which are unofficial signals in public space, something I’ve dealt with numerous times in my previous work. In eRuv I put semacode stickers on various street corners to reconstruct a sacred space that once existed on the Lower East Side of Manhattan. In Modern Orthodox I took it a step further, using graffiti to demarcate conceptual boundaries directly onto the surface of the city. In both of these cases, my audience was human. In Graffiti for Butterflies, my audience included butterflies. And there is a further connection to my other work dealing with the invisible or the imagined, in that the ultraviolet aspect of the graffiti operates beyond our perception.

LD: What are the differences between designing for humans versus designing for, well, non-humans? How can you understand your audience when there’s no empathy, or possibility for empathy, between you and them?

EM: It can be argued that I don’t have much empathy with my human audience, but that’s a separate question. When designing for butterflies, I make assumptions about butterfly behavior based on my 7th grade-level understanding of Monarch butterflies. I know that they can see ultraviolet light and that they migrate through massive swathes of North America on their way down to Mexico each winter. So I created Graffiti for Butterflies to instigate some thinking about forms of interspecies communication that are, so to speak, symbiotic: aesthetically stimulating to humans, nutritionally beneficial to butterflies.

LD: What will you be talking about at IDEA?

I’m going to discuss my projects that deal with information and public space. I’ll start with some of the work I alluded to above pertaining to the eruv, a symbolic boundary erected around Jewish neighborhoods as part of the observation of the Sabbath, including eRuv and Modern Orthodox. I’ll also discuss Cemetery 2.0 and Graffiti for Butterflies, with plenty of material not seen on my website.

LD: By day, you work as an information architect for NYTimes.com. How does your work as an artist influence your work as an information architect?

EM: It’s not clear how they might influence one another in any explicit sense. At The Times I work within a set of organizational requirements. In my personal work, I define my own requirements. At The Times I iterate on established design patterns to help produce a consistent, quality user experience (and help invent entirely new patterns when necessary).

In my own work I think I see patterns, though I am able to control or distort these patterns in ways that would be absurd and unproductive in a professional context. And to me this draws an essential distinction between design and art. Design has a functional purpose. Designers have clients and external requirements. Art has any or none of the above. It has distortion for the sake of distortion, if I want it to. Or it can solve real-world problems. It’s up to me.

About Elliott Malkin

Elliott Malkin is an artist and information architect whose work explores the intersection of memory, information, and physical space. His work has focused on the eruv, a symbolic boundary erected around Jewish neighborhoods as part of the observation of the Sabbath. This includes eRuv, a virtual reconstruction of an eruv that once existed in lower Manhattan, and Modern Orthodox, a next-generation eruv constructed with lasers and surveillance cameras. Many of Elliott’s other projects concern the use of new media as a proxy for memory. His short film Family Movie is a reconstruction of scenes from his family’s collection of home movies from the 1970’s. He is also the creator of Cemetery 2.0, a device that connects gravestones to the genealogical database of the Mormon Church. His most recent work is Graffiti for Butterflies, a project designed to facilitate interspecies communication between humans and monarch butterflies in urban areas. Elliott is originally from Chicago and currently lives in New York City, where he works as an Information Architect for The New York Times. His work has been featured at Eyebeam, the International Documentary Festival, and The Contemporary Artists’ Center.

About IDEA (Information Design Experience Access)

This conference addresses issues of design for an always-on, always-connected world. Where “cyberspace” is a meaningless term because the online and offline worlds cannot be made distinct. Where physical spaces are so complex that detailed wayfinding is necessary to navigate them. Where work processes have become so involved, and so digitized, that we need new processes to manage those processes.

This conference brings together people who are addressing these challenges head on. Speakers from a variety of backgrounds will discuss designing complex information spaces in the physical and virtual worlds.

IDEA 2008: An Interview with David Armano

Russ Unger — Thu, 04 Sep 2008 07:37:33 GMT

As IDEA 2008 draws closer, the IA Institute is conducting a series of interviews with the speakers for the conference. As Event Coordinator for IDEA, I fill a variety of roles, including the Interviewer of IDEA Presenters (which I proudly share with Liz Danzico).

This is the third interview in the series, and I got to spend time with David Armano, VP Experience Design at Critical Mass. David has been seen at many conferences this year, and has quite possibly been seen cruising through Chicagoland on his motorcycle in his down time. He also blogs about experience design at Logic + Emotion.

RU: How did you get your start in the design industry?

DA: At birth. I was born with two eyes and a brain and I’ve been a “visual person” since I can remember. I was always the person in class doodling, or drawing something. Or just daydreaming. I would say that the formal training I received didn’t really happen until I enrolled into design school (Pratt), and that’s where I learned the basics of design as well as how it intersected with technology. Like many, my first job out of school was in graphic design—I then moved into broadcast and in 1997 I made the jump to Web and I haven’t looked back. While I appreciated all sorts of design and the strategies that drive it, I’m really jazzed about the things I see happening in the digital space. The funny thing is that while I whiteboard quite a bit, I hardly ever draw anymore yet I’m known as a “visual thinker”. I still consider what I do (design strategy) to be part if the discipline. At one point in my career, I aspired to be an illustrator. Now I illustrate concepts which help people take action.

RU: How did you get your start as a presenter?

DA: In my previous life as a creative director which is one of the hardest presenting gigs anyone can ever have. No audience ever fired you for a bad presentation—but a client might. So that’s how I started (sort of). But I really started talking about industry perspectives around 3 years ago and things rapidly picked up in the past year or two and I’m sure the blog and writing has had a lot to do with it. I don’t consider myself an experienced speaker. Mostly, I use whatever skills I have to make the most of a presentation. My visuals help, and it REALLY helps that I believe in what I talk about. I’ve never taken a class in public speaking and the rules I give myself are simple. 1. Be myself 2. Do my best 3. Tell a story. The highlight of my speaking career was getting invited to speak at Google. I would have love to have participated in, but it conflicted with a family trip I had scheduled. Though it seems like I speak a lot, I’m actually a poor self-promoter and have been lucky to get invited to some great venues recently. People like Jared Spool have given me some big breaks, and I’ve been fortunate for it. I enjoy speaking and consider it a privilege. Anytime someone is willing to give you their time to hear you out, you have to take it seriously.

RU: What should the audience take away from your talk?

DA: I can’t answer this question really. People will take away what they want and that’s a good thing. I can tell you what I hope they will. I hope they will be excited about the future which I believe presents huge opportunities for people who understand how to create great experiences one interaction at a time. This could be through interface, through content or even through personal interactions such as responding to comments, etc. I can’t help but see a strong link developing between social networking and experience design. We are living in an age where we can design prototypes and get real time feedback. People can tell us what they want and we’ll have to be confident in ourselves to read between the lines. But at the end of the day, I believe that it’s more important than ever to deliver a great experience vs. building a myth around one.

RU: Who do you look to for inspiration?

DA: People. I’m a people watcher. When I have any free time, I’ll often try to watch people wherever they are. I watch how they speak to each other, what cars they drive, if they have a difficult or easy time opening up a door. I do this a lot online as well—through networks, and the digital destinations that people frequent. I’m also inspired by public places and how people interact with them. Millennium Park for example is a great example of a space that’s changed the face of Chicago. I love watching people play in the fountain and delight in it’s design. I’m also inspired my many of the new Web applications out there. Slideshare came out of nowhere and it’s treasure trove if inspiration. Both the platform and the content are inspirational and I love to see that somethng like this can seemingly appear out of nowhere and evolve into an incredibly useful resource.

RU: You really try to balance your work and presentation life with family time—in fact, you recently backed-out of a trip to Google in order to spend time with one of your boys at a summer camp. This is the type of move that many of us applauded you for, and it really sends a good message to people about maintaining that balance.

What advice would you give to people about maintaining work/personal balance as they’re trying to establish themselves?

DA: Funny, I just mentioned that earlier. For me it wasn’t even a choice. Fact is I already work hard enough and don’t have time for “regular hobbies” like sports or TV, so the least I can do is recognize when I’m given a gift. I’d say the best thing to do is realize when we have a few hours or a few days to re-connect with the people who are important to us, we need to take a step back and do so. My little guy would never remember that I spoke at Google, but he’ll always remember fishing in that canoe.

RU: In my opinion, no matter what any of us achieve, our kids will always think of us as “mommy” or “daddy” and our parents will pretty much always know us as the kid they raised more so than the adults we become.

Do your parents know you’re “David Armano” like the rest of us do? And, of course, how do they feel about it all?

DA: True story. I’m in NY visiting family and my mom says “David, we’re so proud of you. Want some chick peas?”. I think that about sums it up.

RU: This is a set-up question: What’s your favorite way to communicate with people who aren’t in the same room with you?

DA: Of course you know the answer to this—it’s writing and visual thinking. :-) I don’t do a lot of video or audio because it takes more time and I like to get ideas out quickly in a medium I feel comfortable in. Words and pictures are as basic as you get, they are universal and can be shared easily. While the power of other mediums cannot be underestimated, for me words and pictures can communicate a lot with a certain purity as there is not a lot of production associated.

RU: Last question and it’s a 2-parter. Let’s be honest, you’re “internet famous” and people get some online cred just by getting public messages from you or mentions in anything you write and/or say. How has being a presenter and conference-attendee helped you improve upon your career?

DA: Oh, it’s re-defined what I do—absolutely. People are only now realizing how HARD it is to build a brand (whether personal or real) online and so, I am sought after for my experience in this area. Only two years ago I was plugging away as a billable employee with strange internet hobby and now I work a lot more on the strategy and evangelist side of things. Through it all, I still believe that positive interactions build brands and so in whatever I do, I try to either demonstrate this or get people inspired about it. I’m not in the weeds as much as I used to be—but since I talk about “being in beta”—I have to be open to where this is all taking me. I don’t know the end story. I don’t think any of us does.

RU: Part 2. Besides finding a hat, boots and motorcycle that best fit your own personal mojo, what would you recommend to people who are just getting started in the field and who are interested in becoming more active in the industry—or who just want to follow in your footsteps?

DA: This is easy in instruction and difficult to pull off. I started online with zero awareness and few connections. What I did was simply to provide value through my thinking and artifacts. Because I was willing to share this freely and do my best to be myself, it resonated with some (not all) people and that’s OK. You have to do something that sets you apart. Seth Godin says it best in his “Purple Cow” theory. You need to do something “remarkable”. This could mean being an uber-connector, a great communicator, or simply having a really unique perspective on something. The most amazing thing to me is that the Web is fundamentally a level playing field in which the niches can thrive on. People can simply come out of nowhere and build something with reach. It’s a huge opportunity for not just people but businesses. I can’t stress this enough. But the bottom line is that you need to be doing something that someone sees VALUE in.

About David Armano

David has over 14 years of experience in the communications industry, having spent the majority of his time in digital marketing and experience design. An active thought leader in the industry, David authors the popular Logic + Emotion blog currently ranked in the top 25 of the “Power 150,” as listed by Advertising Age. David’s writing and visual thinking has been cited by respected sources, such as Forrester and Crain’s, and has landed him in BusinessWeek on several occasions including their “Best of 2006”. David leads an interdisciplinary group of designers, writers and content strategists for the Chicago office of Critical Mass. Aside from his presence on the Web, David is known as an evangelist for customer-centric strategies and acts as an advocate for the creation of meaningful interactions, which influence behavior. In his spare time he contributes articles to various professional publications and spends as much quality time with his family as possible.

David still has not shaved his bear and enjoys calling me up in the middle of the afternoon to see if I’d like to hang out with him while he eats lunch.

About IDEA (Information Design Experience Access)

User Experience Week

Jeff Parks — Thu, 04 Sep 2008 07:37:14 GMT

User Experience (UX) Week was held in San Francisco, CA from August 12 – 15. Boxes and Arrows, in co-operation with Adaptive Path, interviewed speakers in UX, IA, IxD, and Human Factors. Many thanks to the entire team at Adaptive Path for the opportunity to share these conversations with the communities of practice.

Sketches from UX Week

T. Scott Stromberg from 404 User Experience Design and Ty Hatch of Ty Hatch Design captured the UX Week presentations with some quick and brilliant sketches. They were kind enough to share their observations with Boxes and Arrows.

T. Scott Stromberg Sketch Notes
Ty Hatch Sketch Notes

Session Slides from UX Week

Adaptive Path is adding session slides gradually to their website from presenters and workshop leaders. If available, Boxes and Arrows has linked directly to these presentations below.

On with the Show!

Subscribe to the Boxes and Arrows Podcast in iTunes or add this page to your Del.icio.us account:

iTunes Del.icio.us UX Week theme music generously provided by Sonic Blue

UX Week Keynote Discussion – Peter Merholz and Don Norman
UX Week 2008 kicked off with an on-stage conversation between the President and founder of Adaptive Path, Peter Merholz, and industry legend Don Norman. Don wrote the founding text on user-centered design, entitied, “The Design of Everyday Things”, and also coined the term “user-experience” while at Apple in the early 1990s.

They talk about the importance of the semantic differences around common issues in business like ROI from a design perspective, the necessity to look beyond the “all mighty dollar,” the importance of being passionate about your ideas, and knowing ultimately all team members want to create great products and services for other people.

Don shares his insights about the UX Week presentation given by Microsoft’s Jensen Harris around the usability of the Ribbon in the latest version of MS Office as well as the exciting future that lies ahead for all in the UX field.

Download

Being a UX Team of One – Leah Buley
In this conversation, Experience Designer Leah Buley from Adaptive Path shares some of the lightweight techniques that she and her team use to explore a variety of solutions quickly and how to enlist the support of non-team members in the UX process.

We talk about the video biographies of other team members at Adaptive Path and how all started out from humble beginnings – some in fields that had little to do with what we think about today as traditional UX projects – and how those experiences have helped in building great products and services.

Leah outlines the advice she gives in her conference talk Being a UX Team of One.

Videos from On-Stage Presentation
Leah was kind enough to share the videos she used in her presentation. Thanks again, Leah!

Watch members of Adaptive Path describe their first job in User Experience

Watch as Pam Daughlin answers the question When did you first discover UX?

Watch various members at Adaptive Path share their thoughts on what’s hot in User Experience at the moment.

Download

Story Telling for User Experience Design – Kevin Brooks and Kim Lenox
Senior Interaction Deisgner at Adaptive Path, Kim Lenox chats with Kevin Brooks, the Principle Staff Researcher for Motorola Labs about his workshop entitled “Storytelling for User Experience Design”.

They discuss various aspects of Kevin’s presentation including the importance of structure and patterns to guide creative endeavors. One critical aspect is listening when striving to be a remarkable storyteller within your own organization.

Kim shares her art school experience where the criticism of her art helped her gain the confidence necessary to be a successful Interaction Designer.

Kevin also discusses his upcoming publication about storytelling with Whitney Quesenberry. Learn more about his book at Rosenfeld Media.

Download Kevin’s presentation from UX Week.

Download

Unpacking Stories to Serve People Better – Indi Young
Indi Young talks about the importance of continuing to ask “why” enough times to get to the core reasons for any individuals’ behavior or actions and how to convert stories into mental models. Her workshop “Unpacking Stories to Server People Better” includes these themes and more.

We discuss the elegant way in which mental models can provide a visual representation of these behaviors and support elements that foster the likely repetition of any action.

Indi also talks briefly about how her book from Rosenfeld media, “Mental Models – Aligning Design Strategy with Human Behavior,” can help others create these visual tools.

Download

We’ll Always Have Paris: What Makes a Memorable Service Experience? – Jennifer Bove and Ben Fullerton
Jennifer Bove from Huge and Ben Fullerton from IDEO sat down with me shortly after their presentation to discuss ideas from “We’ll Always Have Paris – What Makes a Memorable Service Experience.”

We explore the six key elements about what it takes to design services that keep people coming back for more.

We probe into the dynamics of service design from real-world examples of business that provide unique experiences. One shoe company will actually order a pizza for their clients as well as order products from competitor sites to keep their customers satisfied.

Jennifer and Ben outline why people get excited about intangible services in the same way they lust after the latest shiny toy that just came out on the market.

Download

ben: A Prototype for Democracy in the 21st Century – Dave Wolf
Dave Wolf, Vice President of Sales and Marketing at Cynergy Systems was kind enough to join me for this conversation about his presentation “ben: A Prototype for Democracy in the 21st Century.”

We talk about Cynergy’s awarding winning application “ben” at the PhizzPop competition – a National Design and Development Challenge sponsored by Microsoft.

“ben” is a series of interconnected, cross-platform applications that leverage the power of Microsoft Silverlight, Windows Presentation Foundation, Live Services, Twitter, VoIP technologies.

Download

TV With an API! – Current at the Collision of TV and the Internet – Rod Naber and Dan Levine
TVs in trouble! It might be terminal, but Rod Naber and Dan Levine from Current TV urge everyone not lose hope just yet. Discussing their presentation “TV with an API! Current at the Collusion of TV and the Internet” Rod and Dan describe how using their cable and satellite TV network along with their social news website, Current is experimenting across both media, looking for a cure.

In this conversation we talk about how Current got started, the power of the community in generating content for Current News, and how the Internet is allowing users to create ads for companies. All this could change the way marketing approaches innovative solutions for their customers.

Download

A User’s Guide to Managing Experience Teams – Margaret Gould Stewart and Graham Jenkin
Google’s Margaret Gould Stewart and Graham Jenkin discuss their experience and ideas from their UX Week workshop about managing UX teams. Topics covered in this conversation include:

Prioritization and project tracking

How to gain insight into career development paths within a user experience team

Finding out about performance management

Discovering how to tailor your own management style

Margaret and Graham also tackled other tough issues during their session, such as:

Building a culture of constructive feedback

Developing leadership within a team

Effectively managing team dynamics

Evangelizing user experience practices

Managing stakeholders

Margaret and Graham also had participants of their workshop develop haiku’s about the importance of working with and managing UX Teams. They were kind enough to compile this collection of Haiku’s from the workshop for you. They also provided an example of the leadership cards. These cards can be printed off and shared with members of your team about which characteristics of a leader they deem to be most essential. Not every leader will be strong in all categories, however. Such information can help leaders understand the expectations of those they are working with on a daily basis.

Download

New Paradigms for Interaction in Physical Space – Jake Barton
Jake Barton gave an emotionally powerful presentation at UX Week entitled “New Paradigms for Interaction in Physical Space”.

As the interaction designers for NPR’s StoryCorps and the co-leaad designer for the National September 11th Memorial Museum at the World Trade Center, Local Projects is creating new paradigms for interaction by tackling physical space.

Jake talks with me about how the interaction design process bends, accelerates and sometimes completely falls apart, when applied to the global community.

You can download Jake’s Presentation from UX Week.

Download

Conversation with Adaptive Path’s New CEO – Michael W. Meyer
On the last day of UX Week I had the pleasure of chatting with Adaptive Path’s new CEO Michael Meyer about his impressions of UX Week and the opportunities that come with this new position.

We discuss his past experiences as a nuclear engineer, time spent in the US Navy, as well as working at some of the leading design firms in the world such as frog and IDEO before arriving at Adaptive Path.

My heart-felt thanks to Michael and the entire team at Adaptive Path for allowing Boxes and Arrows to share these conversations with the community.

Download

IDEA 2008: An Interview with Andrew Hinton

Russ Unger — Thu, 28 Aug 2008 21:03:18 GMT

This is the second interview in the series, and this time I pulled the name of Andrew Hinton, Lead Information Architect at Vanguard, from the virtual hat. You may recognize Andrew as the presenter of the closing plenary for the IA Summit in Miami this year. Andrew’s blog is Inkblurt and don’t be surprised if you end up engrossed in it and feel as if you are getting a free education!

RU: How did you get your start in Interaction/Information Design?

AH: As far as technology-based work, I did some very rudimentary interface work when I was learning a bit of Apple BASIC & Pascal back in high school. But I’d say my first real challenge was when I had a job at a small medical office as their office manager, and all they had was a typewriter and a telephone. I talked them into getting a computer (a Mac Plus), and buying a database package (something called Double Helix), and letting me build a client accounts system for them.

Trouble was, I had to design it so that my exceedingly tech-phobic co- workers could use it, which forced me to think hard about interface design.

Of course, that was just a part-time job when I was in graduate school. My academic background (Philosophy, Literature & Creative Writing) taught me a lot about making difficult ideas understandable with language—and I think that’s at the core of any information- design challenge. That background continues to be a help for me.

RU: How did you get your start as a presenter?

AH: I’ve been doing stuff in front of crowds since I was a kid. Everything from playing music in a bluegrass band when I was about ten to oratory and debate in high school. Plus drama & choir and the band I had in college. Then there’s the teaching I did while in grad school, and I won’t even go into the preaching I did as a teenager in a big suburban Southern Baptist church.

As far as speaking at conferences, I started sending in proposals to the IA Summit and got one accepted, and sort of got on a roll.

RU: What should the audience take away from your talk?

AH: Well, I suppose details are still emerging. The topic is context, and what technology is doing to upset our deeply ingrained assumptions about context—socially and otherwise. But in general, I’d say I’m more interested in asking questions than answering them. That is, I hope it gets people talking.

RU: Who do you look to for inspiration?

AH: That’s tough. I’d have to say my major inspiration is my kid. She’s the future I’m designing for, in more ways than one.

In terms of people I read or look up to, for me it’s all over the place. I grab inspiration from wherever I can find it. Lately I’ve been really into watching presentations from the Long Now Foundation, for instance. The one by Will Wright & Brian Eno is especially amazing. But I also find my imagination-head needs input from things like movies, fiction, biographies, documentaries about almost anything.

RU: You’ve mentioned your daughter before—both in presentations and at least a couple of times in some of the post-IA Summit Y! Live sessions that we were both in. She seems like a really great kid, and as a daughter-daddy myself, I think it’s great when I hear others in our community really getting in to “the future as our children”. As crazy as our worlds can be with work and other obligations, the IA / IxD / UX world seems to be ripe with really great parents.

What’s your favorite way to communicate with people who aren’t in the same room with you?

AH: I like a lot of different methods—and one thing I love about this age we live in is the great variety we now have for communicating. There seems to be a whole new species of communication cropping up every few years, and they all seem to emerge from the nuanced needs we have for how we connect. So, really it’s very contextual for me. I like whatever tool feels most suited for the kind of communicating I’m trying to do at the moment.

It’s easier to say my least favorite—that’s the garden-variety conference call. So little context, so little sense of physical reaction. Plus the awful noise-reduction circuitry on most speaker phones makes it even harder to pick up on subtle verbal cues. I always come out of conference calls feeling anxious & exhausted.

RU: And now, a 2-parter. A lot of people know your name, have heard you speak in the past, quote your blog, and you’re thought highly of (this interviewer is included in that group). How has being a presenter and conference-attendee helped you improve upon your career?

AH: Presenting has been a big help, mainly in my own head. By that I mean … First, the pressure of presenting on a topic forces me to grapple with it in a rigorous way I’m too lazy to do otherwise, which results in having my ideas sorted out in my work a lot better as well.

Second, it’s a decent confidence boost that helps me stick up for the user with more authority than I might otherwise be able to in the daily grind.

Even just going to conferences has been very helpful though. The User Experience Design world is so distributed and virtual—we’re all in each other’s heads, mediated through electronics and words.

Periodically being able to look each other in the eye is incredibly important to keeping all that grounded.

And I don’t know how this “thought highly of” business got going, obviously you’ve never seen me after a conference call!

RU: Part 2. What would you recommend to people who are just getting started in the field and who are interested in becoming more active in the industry—or who just want to follow in your footsteps.

AH: It means a lot to get involved in your community of practice. You don’t realize what an impact it makes on people around you, but it’s huge. Find some problem that needs solving that tickles your fancy, some skill or service that the community could benefit from that you get a kick out of working on, and dive in. Lurking is fine at times, but if you want to be “active in the industry” you have to engage. You can engage the conversation at any level, as long as you have a sense
of humor & perspective about it. And read all kinds of stuff—don’t just read “design” crap all the time. We all breathe each other’s air way too much, and it’s important to get ideas from outside the UX bubble.

As for my footsteps, I don’t recommend them—mainly because I don’t know that I could’ve walked those steps on purpose if I’d tried. Which is to say, follow what obsesses and excites you, whatever crazy path that might take you down, and there’s probably somebody somewhere willing to pay you for doing it well.

RU: I’ve said to many people that a lot of us have not come by our current roles honestly. That is, almost everything that you stated above. I’m trying to say that I think your footsteps are fairly common for the more “seasoned” folks in the industry. Do you have an opinion on where the User Experience Designer of tomorrow will evolve from?

AH:There are already formal curricula out there that are bringing older practitioner skills and learning into the User Experience space, and from what I can tell they’re doing a great job. If I hadn’t burned out on graduate education long ago, I’d consider going to a program myself. That said, I think UX is inherently a hands-on practice, and has to be done to be understood. Doing the work is the only way to get better at it. So whether newer folks get a head start on that from internships or studio work in school, it’ll be necessary eventually anyway. The other thing is that, this field is evolving so quickly, I wouldn’t be surprised if we continue to see people from many other fields coming into the fold and showing us new, amazing things they know how to do that we hadn’t thought of. For example, I keep running across news items from the neuroscience world (which is exploding lately with amazing new knowledge) and finding it incredibly applicable to UX work. UX design will always need cross-disciplinary input, and practitioners who adapt and evolve with the work itself.

About Andrew Hinton

Since 1990, Andrew Hinton has worked as a designer, instructor, writer and consultant of various stripes in the healthcare, financial, consumer and manufacturing industries. Clients have been small and large, including Fortune 500s such as American Express, Shaw, Wachovia and Kimberly-Clark. Andrew is now a Lead Information Architect in mutual-fund giant Vanguard’s User Experience Group.

From his pre-Web education, Andrew holds a BA in Philosophy, an MA in Literature and an MFA in Writing. He’s a regular speaker at conferences like the IA Summit, and sometimes writes for publications like Boxes & Arrows. His current obsessions include Communities of Practice, social design factors, what games teach us about design, and the meaning of context in digital spaces.

A co-founder of the IA Institute, he serves on its Board of Advisors. He also keeps a home on the web at inkblurt.com.

About IDEA (Information Design Experience Access)